An important Dutch diamond-point engraved calligraphic green glass roemer by Willem Jacobszoon van Heemskerk, second half of the 17th century

Almost certainly L. van Heemskerk, Leiden; sold Delfos, Leiden, 2 September 1771, lot 22. (See F.G.A.M. Smit, Uniquely Dutch Seventeenth-Century Calligraphy on Glass: A Preliminary Catalogue, Peterborough, 1989, p. 105, Q6.)

On loan from the Stilte-Stichting Landgoed Den Bosch Collection to the Museum Arnhem from February 2004 until recently.

Perhaps the most prolific exponent of the calligraphic style of engraving was Willem Jacobsz. van Heemskerk (1613-1692). A draper by trade, but also a poet and playwright, Willem engraved hundreds of glass items with phrases, some of which reflected his religious convictions. The inscription on the present roemer is a variant on the motto `Vincit qui patitur` which is associated with the Puritan movement. Van Heemskerk would invariably sign his work and on occasion he would inscribe his age and date at the time of completion on the various roemers, goblets, beakers, serving bottles and dishes which make up much of his output. He retained many of his works in his collection; his grandson Leonard left an inventory of personal effects that lists nearly 250 of Willem's calligraphic glasses. Leonard van Heemskerk’s estate was sold at auction in Leiden in the year of his death, 1771, the present roemer would appear to have formed part of this sale.

See Peter C. Ritsema van Eck, Glass in the Rijksmuseum, 1995, Vol. II, pp.95-119, nos. 76-105 for signed pieces by van Heemskerk.

The technique of engraving glass with a diamond-point was introduced by the Romans in the 3rd century BC. In the Middle Ages Venice was an important hub for the importation of diamonds destined for markets such as Antwerp and later Amsterdam. The lightness of soda glass produced in Venice meant that it was unsuitable for wheel-engraving so diamond-point engraving and surface enamelled decoration and gilding became the preferred method of ornamentation for patterns and armorials. The 1540s saw several engravers working in Venice and the technique increased in popularity throughout the later 16th century. The 1580s saw the Venetian style of glass making and decoration become the dominant influence in both Northern and Southern Europe. Whilst the style was waning in Venice by 1600 it had found popularity in the North Netherlands.